Director:
Paul W.S. AndersonGuión:
Paul W.S. AndersonCámara:
Glen MacPhersonMúsica:
tomandandyReparto:
Milla Jovovich, Boris Kodjoe, Ali Larter, Wentworth Miller, Sienna Guillory, Spencer Locke, Shawn Roberts, Kacey Clarke, Norman Yeung, Kim Coates (más)Streaming (3)
Sinopsis(1)
En un mundo asolado por un virus infeccioso que convierte a sus víctimas en muertos vivientes, Alice (Milla Jovovich), continúa en su búsqueda por supervivientes para ponerlos a salvo. Su batalla a muerte con la Corporación Umbrella llega a alturas insospechadas, pero Alice, inesperadamente, recibe ayuda de una vieja amiga. Nuevas pistas, con la promesa de un paraíso a salvo de muertos vivientes, los conduce hasta Los Ángeles, pero cuando llegan, la ciudad está infectada con miles de muertos vivientes. Alice y sus compañeros están a punto de caer en una trampa mortal. (Sony Pictures Esp.)
(más)Videos (6)
Reseñas (8)
La trama duraría 15 minutos en una película normal, pero aquí se infla a 100 y termina en el momento cuando debe empezar la parte más tensa. El robo descarado de tomas específicas de Matrix o La Isla de Bay en el abrazo del «lavado de cerebro» radicalmente establecido de la lógica de los videojuegos solo confirma que a Anderson no le importa para nada lo que los demás piensen de él. Y lo disfruta. Disfruta de la imagen sexy de los tres personajes femeninos (¿alguna de ellas puede ser aún más sexy?), así como del decorado reventado (el mejor componente de la película), que combina las nubes de polvo y tuberías de metal podridas con las pálidas habitaciones limpias de laboratorio. Resident Evil: Ultratumba es el máximo fetiche de imágenes en 3D, una degradación de plástico con un jefe mega genial que tiene un hacha. Es una degradación que se mira muy bien. En la tercera película, Russell Mulcahy elevó la serie a una gran película apocalíptica, y Anderson la devolvió a los límites de juego.
()
Over-stylized and ultimately laughable in the most negative sense. Paul W.S. Anderson takes the series back under his wings and thus returns it exactly according to my expectations into the waters of dull mediocrity. The perpetually slowed-down action sequences reference all the parts of The Matrix, the actors literally kill it with their performances (surprisingly even the completely exhausted Milla Jovovich), and the plot only moves forward thanks to the nonsensical behavior of the characters or glaring logical errors. Yet as unbearable as the first two installments, Afterlife is not. Its transparency and simplicity predispose it to a relatively brisk story and a few cool action moments. In everything else, however, the expected tragedy.
()
The third instalment Resident Evil improved the reputation of the franchise, just like Paul W.S. Anderson with Death Race, so I started to look forward to Afterlife when it was announced. At least until I saw the first posters and trailers, which openly shared the unpleasant fact that, instead of horror, this time it would be a computer generated 3D action orgy – an incredibly boring and sterile orgy. Every scene leaves a sad fake impression, the performances are pathetic and the script is laughable. I can’t call this technological promo titled Resident Evil: Afterlife a film. 1/10
()
Action is the main trump card of Afterlife. It's really abundant here, maybe even more than in the fifth installment. Again, great Milla Jovovich and perfect Luther with "Michael Scofield." The story continues from the excellent third part, but it has an open end again, which is typical for this series. Hopefully, in the sixth one, we will see a battle with millions of zombies that were in the fourth one and also some axemen will return, which is really fun... 90%
()
Go ahead and get mad at me, but even in the traditional dimension, I enjoyed it as much as all the other films in the series. I have no love for the original Capcom franchise, but the movie series, spoiled by the hellish B-movie director Paul Anderson, always reliably puts me in a gaming mood, even if there’s really no plot, and if there’s meant to be one, it's the same thing over and over again. The fact is that it’s never boring, the slow-motion shots are not annoying, and the fetish of stolen action, which is mostly unleashed by girls, is damn emphatic. Subjectively, I have nothing to complain about. 3 ½ [I’m tempted to enjoy this romp using the effects of Cameron’s technology.]
()
Anuncio